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In my version of OM (3.0.29550) the docu of the function refers a couple of times to :span parameter, which to my understanding is now called :time.

Please make the seed value post when using snippet evaluation, e.g. Snippet>Notation (cmd-1) This would IMO be a great improvement to the workflow when trying to find a good seed value. As of now the seed value only posts when evaluating expression (cmd-E) or score (opt-cmd-1). For example: (setf m6 (rnd-order m2 :type :all :seed nil)) When evaluating the above as snippet notation, you could quickly go through a number of trials and then copy and paste the seed value that you like.

Name change: reconstruct-to-piano to split-chord I agree, Janusz

It is working Thank you Patrick

Try length-span Jesper (setf rhy (gen-repeat 8 '(1/8 1/4 1/16 1/16 3/16 1/16 1/1 1/8 -1/8 1/8 1/16 1/16))) (setf mes (gen-repeat 8 '(4/4 6/8))) (setf res (length-span mes rhy))

Hello i would like to divide a series of lengths into bar measure signature like 4/4 or 6/8 etc... But i would like to cut the overlapping lengths over the bar measure if any . I tested omn-to-measure but it doesn't cut oeverlap lengths over the measure Thank you Patrick

New function: split-chord chord-span sequence &key dyad triad index Arguments and Values: chord-span - An integer specifying the maximum chord span (in semitones) used for splitting large chords. sequence - An OMN sequence or list of sequences, where each chord/event may contain duration, pitch, velocity, articulation, etc. dyad - (optional; default: 14) An integer specifying the maximum chord span (in semitones) for two-note chords. triad - (optional; default: 13) An integer specifying the maximum chord span (in semitones) for three-note chords. index - (optional): An optional variable name to which the final two-part structure is assigned. If NIL, the function return a list of two sublists. The default in NIL. Description: The SPLIT-CHORD function reconstructs a sequence of chords (in OMN notation) into a two-part piano score, distributing chords and pitches between right hand and left hand according to a set of rules: Ambitus-based chord splitting: Multi-note chords are split roughly in half (via midpoint division), then refined according to a specified chord-span in semitones. Single-pitch chords: Pitches in the range -39..-1 are assigned to the left hand. Pitches in the range 0..48 are assigned to the right hand. Small chords up to three pitches: If the total pitch span is within the range given by dyad (14 semitones) for two-note chords or triad (13 semitones) for three-note chords, and the majority of pitches fall in one of the two ambitus regions (lower vs. higher), the entire chord is assigned to that hand, with the other hand receiving a rest. No pitches or negative durations (rests): Events containing no pitches, or a negative duration (rest), are duplicated in both hands, effectively placing the same rest in each staff. Velocity and articulation: These are preserved and appended to the chord data for each event. Examples: A sample OMN sequence with chords and rests: (setf sequence '((-e. e. c1cs2bb2b3 p q. e1bb2b3cs4 mp e. bb2b3cs4e4bb4 s bb2eb3g3b3d4 tie) (e bb2eb3g3b3d4 mp h. b2b3d4g4bb4 p e c1cs2bb2b3d4 mp))) Reconstruct into a piano score with chord-span 13 (semitones): (split-chord 13 sequence) Result (shown as a pair of sublists: right-hand part, left-hand part): => (((-e. bb2b3 p q. b3cs4 mp e. e4bb4 s g3b3d4 tie) (e g3b3d4 mp h. g4bb4 p e bb2d3b3 mp)) ((-e. c1cs2 p q. e1bb1 mp e. bb2cs3b3 s bb2eb3 tie) (e bb2eb3 mp h. b2d3b3 p e c1cs2 mp))) Best wishes, Janusz

Ok! this is original (setf scale '(c4 d4 e4 f4 g4 a4 b4)) (setf a (harmonic-progression '(1 6 2 5 3 6 2 5 1) '(c major) :base 1 :size 3 :step '((2 1)))) I want to use secondary dominants for each 6th degree , I found this solution. but I would like to keep the step argument, is it possible? (setf wdoms (harmonic-progression '((0)(4)(1 4 2)(4)(1 4 0)) '((c4 major) (d4 major)(c4 major)(d4 major)(c4 major)))) Thank you for your help

Hi, this is a new Soundcloud playlist where I'm sharing some output of my experiments with OM. stephaneboussuge · E.I.A.M.C Project

Furthermore, I notice the pitch-melodize function does not react in the same way with: harmonic-progression and diatonic-chord can someone explain?

Hi, would it be possible to get the same result as harmonic-progression with the diatonic-chord function? thanks for your help (setf a (harmonic-progression '(1 6 2 5 3 6 2 5 1) scale :base 1 :size 3 :step '((2 2)))) (setf cad1 (diatonic-chord '(:c I vi ii V III vi ii v I)))

Nothing more to do. From now on the default notation editor on your system is Dorico 5.

Merci Stéphane:-)!

yes

like this? what should i do next?

Therew is not a specific file for that. Pleace the expression in the 'User Functions.lisp' file or any other file which is part of the Extensions directory.

Hi, Where is this file ? (defparameter *default-notation-editor* "MuseScore 4.app")

I don't make programs my dear Janusz, you are the expert I just filmed the problem, hope it helps! IMG_1929.MOV you can also see to stop reading (sound) , you have to press pause then rewind...Is this a problem with opusmodus or Cubase?! Thank you for your answers

Where do you think the problem lies if other programs are working well with OM?

show us with cubase since you seem to know! When recording in cubase Mac via AIC driver, all notes stack vertically at the start, we are looking for a solution...

For me it is clear you don't understand how to setup the OM output to virtual instrument. 1. The Settings in OM are for snippets only. Usually they are internal. 2. Every thing else is made in def-score or ps with ports.

another midi precision problem with opusmodus in Ableton there is a gap

with Ableton and a midi connection to the network (Session 1) it works well. I note in passing that none of the 4 outputs of my miditech in opusmodus work. For me it is clearly a problem that comes from OM!